Batman v Superman: Dawn of Justice

Batman v Superman: Dawn of Justice (2016) ‘Mashup’ Review

The biggest gladiator match in the history of comic-book films feels like a stinking turd that jumps from one scene to another without even transitioning properly. At the end of the day when you look at the film it frustrates you and makes you angry. It just feels like that random drunk guy who doesn’t know where he is coming from and where he needs to move next. And finally when he gets his…
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The Look of Silence (2015): A Fairytale of Blood and Murderers

If I have to describe The Look of Silence in one word, I would say ‘sick’. The people you meet in this documentary, the things they say and the audacity with which they talk about their age old crimes is sickening to say the least. Here is a documentary that offers nothing violent but still manages to make you uncomfortable with its cringe worthy conversations. People get old and withered but only a handful of…
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The Brand New Testament [2015]: “Divine Intervention”

Humor and mockery, there is a fine line between these two and in history of any form of art where humor is an objective for the artist, there has been occasions where the artist failed to make the dichotomy between humor and mockery quite distinct. The line often becomes blurred for many; and therein lie the beauty and novelty of one artist who manages to provide pure humor though the subject of his work appears…
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Our Little Sister [2015] Review: A Marvelous Addition to Kore-eda’s Brand of Humanist Cinema

The Japanese master of modern family dramas, Hirokazu Kore-eda, in the past two decades has created a body of work that gracefully and subtly explores the fascinating private worlds of emotionally vulnerable individuals. Since Kore-eda fleshes out his emotionally complex characters without employing high-strung drama, his works may disappoint those expecting neatly aligned conflicts and respective resolutions.
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Polytechnique [2009]: A Ponderous Glimpse into the Layers of Misogyny

“Polytechnique” is a hard film to watch because Villeneuve (and co-writer Jacques Davidts), not only makes us to sit through an atmosphere, drenched with dread and grief, but also employs his profound artistry to coerce the viewer to patiently contemplate on the unspoken things in the narrative. Often the director infuses moments of dislocation, devoid of sound, to offer subtle commentary.
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